Small Volumetric Lamp Spins at 6000 RPMVolumetric displays are simply cool. Throw some LEDs together, take advantage of persistence of vision, and you’ve really got something. [Nick Electronics] shows us how its done with his neat little volumetric lamp build.
The concept is simple. [Nick] built a little device to spin a little rectangular array of LEDs. A small motor in the base provides the requisite rotational motion at a speed of roughly 6000 rpm. To get power to the LEDs while they’re spinning, the build relies on wire coils for power transmission, instead of the more traditional technique of using slip rings.
The build doesn’t do anything particularly fancy—it just turns on the whole LED array and spins it. That’s why it’s a lamp, rather than any sort of special volumetric display. Still, the visual effect is nice. We’ve seen some other highly capable volumetric displays before, though. Video after the break.

Boyd Muir promoted to Chief Operating Officer of Universal Music GroupCompany is 'immediately initiating an executive search process' to hire a new CFO.
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Whether it’s Donald Trump or Kamala Harris, the music business has something to fear from the US election.They're AI-ting the dogs...
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3D Printing With a Hot Glue GunFace it, we’ve all at some time or other looked at our hot glue guns, and thought “I wonder if I could use that for 3D printing!”. [Proper Printing] didn’t just think it, he’s made a working hot glue 3D printer. As you’d expect, it’s the extruder which forms the hack here.
A Dremel hot glue gun supplies the hot end, whose mains heater cartridge is replaced with a low voltage one with he help of a piece of brass tube. He already has his own design for an extruder for larger diameters, so he mates this with the hot end. Finally the nozzle is tapped with a thread to fit an airbrush nozzle for printing, and he’s ready tp print. With a much lower temperature and an unheated bed it extrudes, but it takes multiple attempts and several redesigns of the mechanical parts of the extruder before he finally ended up with the plastic shell of the glue gun as part of the assembly.
The last touch is a glue stick magazine that drops new sticks into a funnel on top of the extruder, and it’s printing a Benchy. At this point you might be asking why go to all this effort, but when you consider that there are other interesting materials which are only available in stick form it’s clear that this goes beyond the glue. If you’re up for more hot glue gun oddities meanwhile, in the past we’ve shown you the opposite process to this one.

After 25 years, Dublab is still the champion of independent online radio — here’s whyOn a quiet street in University Park, Los Angeles, sits an unassuming distribution station, once owned by the city’s Department of Water and Power and constructed in 1925. Surrounded by American Craftsman houses and California bungalows, there’s no indication this building is home to Dublab, the Emmy-winning non-profit online radio station, which has itself been home to independent artists including Flying Lotus, Julia Holter, and Cut Chemist for 25 years.
It’s not loud inside the station; a wooden-panelled, multi-room studio within the centre of a singular, spacious room is where DJs and artists host shows and spin tunes. It’s equipped with Pioneer DJ’s high-end gear — CDJ3000s, a V-10 mixer — Technics turntables, Barefoot speaker monitors and Shure SM7Bs, among other broadcasting kit. Bespoke soundproofing ensures the banging beats are subdued while Dublab’s team work at the desks around the concrete-floored room.
Dublab studio. Image: Press
“There’s like a five- or six-second echo here. It’s a boomy place,” says Alejandro Cohen, Dublab’s executive director, who at 10 a.m. on a Tuesday is sipping coffee with us in the building’s lounge area — directly next to the studio. “When we moved here two and a half years ago, DJs would play on a table in the open. It was great but hard to have any meetings,” he chuckles. “It was very deliberate to create a place that felt welcoming — a public space.”
While we talk, a group of DJs record a show, and some of the Dublab team tap away at computers, plotting the celebrations for the radio station’s 25th birthday. The party, which took place at tastemaking LA. venue Zebulon, Los Angeles, saw over 30 Dublab artists and residents perform, including Cohen, Teebs, Avery Tucker and DJ Lady C. The party was hosted the day before Cohen announced his departure from Dublab — a “deeply emotional” farewell to a quarter century at the station.
“I’ve been involved with Dublab from 1999,” Cohen tells us of the year that producer and DJ Mark “Frosty“ McNeil and businessman Jonathan Buck founded the platform. “Dublab was a pioneer in defining online radio — at the time, we had to explain to most people what online radio was. In 2007, we felt we had enough going that we could set up a nonprofit structure, which is what we felt best reflected our mission. That means you are a public organization; you find public support through listeners, foundations, grants, and government agencies, but you’re not owned by anyone.” Dublab officially earned its nonprofit status in January 2008.
A DJ spinning on the decks in the Dublab studio. Image: Press
The freedom inherent in this designation allows Dublab to operate on instinct and taste, rather than having to appeal to the masses in pursuit of remuneration for shareholders or investors. This structure is echoed not just in Dublab’s eclectic programming, but also in its support for grassroots projects and events. Earlier this year, for example, the station collaborated with Los Angeles International Airport (LAX) to host a music and arts installation in the Tom Bradley International terminal for the next three to five years. Other projects include a free ‘LA Atmos’ sample pack made for Spitfire Audio’s LABS platform and a collaboration with the Beirut Synthesizer Center. One initiative, a soundbank of 280 eight-second loops made with Creative Commons, provided the main sample for Yung Lean’s breakout track, Ginseng Strip 2002.
“When you become a non-profit, you have to take that status very seriously; meaning that you have to be aware that ultimately, you’re serving the public,” Cohen says. “But these [projects] are very rewarding. And it’s wonderful to get behind artists we believe in.”
Cohen reels off a list of more underground heroes that got early support from Dublab — Animal Collective, Ras G, Thundercat, Knxwledge, The Postal Service, Shlohmo. The latter was interning at Dublab, painting the studio walls when he connected with a member of the Friends Of Friends label, who later signed his 2011 debut album, Bad Vibes. The Dublab archives date all the way back to 1999, so one can trawl through and hear the earliest shows of these revered artists and sounds. “You can go real deep — just be careful,” warns Cohen, jokingly. “You can really lose yourself.”
Dublab merchandise. Image: Press
But how does an artist or DJ get a spot on Dublab’s program?
“It’s a very organic process,” says Cohen. “We don’t have a proper audition or application process — we get almost daily requests for shows on Dublab. Many times, it’s just a matter of people reaching out and getting involved…We want to make sure that people who come here give back to the community. It’s not just about what we can do, but also what they can do for our community.”
Dublab’s immediate community is based in Los Angeles, where they showcase local talent and emerging subcultures. Meanwhile, sister stations in Japan, Spain, Germany, and Brazil give the platform a global outlook. Cohen reminds us, however, that Los Angeles is “one of those cities,” like London, New York and Berlin, which many music fans tend to have a keen eye on. The Dublab audience thus reaches listeners far beyond California. Being an online station helps, too, obviously.
Dublab studio. Image: Press
“Radio is a very resilient medium,” Cohen continues. “It’s been around for over 100 years — there’s nothing new about it — yet people still think of radio very romantically. There’s a magic of radio; we’re social animals and, because of that, there will always be a space for radio because, ultimately, it’s another tool to foster community.”
New technology adjacent to radio is, naturally, on Dublab’s radar. The station has produced 13 podcast shows, but Cohen caveats that there’s still a big difference between the two mediums. “If radio is you going to have dinner at a restaurant, podcast is like takeout. That’s not to put down podcasts; it’s just different experiences and ways we connect with content.”
Dublab studio. Image: Press
Following Cohen’s departure, the role of Dublab’s next executive director is now open for applicants. The platform is certain that the next quarter of a century will continue to prove that it’s the “heart of a vibrant, creative community.”
Dublab’s success clearly stems from not chasing what’s cool; knowing its audience and trusting its tastes.. In 25 years, it’s become an institution of the LA music scene. For the next 25 years, Dublab will continue to foster upcoming, undiscovered artists
“A radio station is way more than what it does when you press play on the website and tune in,” says Cohen. “While the entire world is looking at AI and algorithms and data, we are the opposite. We are as human as it comes.”
Listen to Dublab and learn more. 
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beyerdynamic update DT 1770 & 1990 PRO MKII Two of beyerdynamic's popular headphone models have been treated to a driver upgrade that offers lower distortion and an improved frequency response.

How to make horror game music and sound effects
From Dead Space to Silent Hill, we break down the auditory elements of several iconic video games to gain insights into how to make our own horror game music and sound effects.

Universal Music is working with an AI company to build an “ethical” music generatorUniversal Music Group is working with the AI company Klay Vision to create an “ethical” foundational model for generating AI music.
Klay Vision is currently creating a “Large Music Model” named KLayMM and is planning to launch a product in a matter of months. The company’s founder and CEO Ary Attie has said the company believes “the next Beatles will play with KLAY”.

READ MORE: “What AI means to Universal Audio is less important than what it means to the music-making community”: CEO Bill Putnam Jr. shares why the brand doesn’t “make a big deal” out of AI features

Both claim the model will work “in collaboration with the music industry and its creators,” but haven’t yet explained how, while Klay plans to make music AI “more than a short-lived gimmick”. Nonetheless, they have numerous issues relating to AI usage in mind, including copyright as well as name and likeness rights.
“Building generative AI music models ethically and fully respectful of copyright, as well as name and likeness rights, will dramatically lessen the threat to human creators and stand the greatest opportunity to be transformational, creating significant new avenues for creativity and future monetisation of copyrights,” Universal Music has said.
Attie adds: “Research is critical to building the foundations for AI music, but the tech is only an empty vessel when it doesn’t engage with the culture it is meant to serve.
“Klay’s obsession is not just to showcase its research innovation but to make it invisible and mission-critical to people’s daily lives. Only then can music AI become more than a short-lived gimmick. Our great artists have always embraced the newest technologies – we believe the next Beatles will play with Klay.”
“We are excited to partner with entrepreneurs like the team leading KLAY, to explore new opportunities and ethical solutions for artists and the wider music ecosystem, advancing generative AI technology in ways that are both respectful of copyright and have the potential to profoundly impact human creativity,” adds Michael Nash, Executive Vice President and Chief Digital Officer of Universal Music.
The news follows UMG’s involvement in lawsuits against AI music generator sites. In June, it along with Sony Music Entertainment and Warner Records Inc sued AI music platforms, Suno and Udio alleging copyright infringement of recorded music at “an almost unimaginable scale.”
In addition, its months-long dispute with TikTok, in which it pulled its entire song catalogue from the platform, was ended with a new licensing arrangement that covers AI-generated music.
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Why Musicians Should Stop Wasting Time on SuperfansMarketing insights from Byron Sharp explain why musician should stop wasting time on superfans. Casual listeners drive lasting growth. Learn how top artists like Taylor Swift use this approach to expand their reach and impact.
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Charli XCX revinvents Remix Albums: BRAT Summer Stats and StrategiesCharli XCX's effect on popular culture with her 'BRAT' green energy has been enormous. Now with her new release Charli XCX revinvents remix albums. Learn the strategies and stats behind BRAT Summer.
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Independent music market sharesGlobal : Fragmentation AND consolidationMIDiA is excited to announce our latest report “State of the independent music economy: Fragmentation AND consolidation”. It represents the most extensive piece of research we have ever done. Through a combination of our annual Independent Label and Distributor Survey and an exhaustive (and exhausting) programme of desk research, MIDiA collected company level revenue data totalling $10.6 billion of recorded music revenue. When combined with major label financials and data collected from artist distribution platforms, this means that MIDiA’s total recorded music market dataset has 93% of all global revenues accounted for, at company level. We are confident there has never been such comprehensive research done of the sector, until now!

The full report is immediately available to MIDiA clients and has also been sent to all labels and distributors that took part in our survey. Here are some highlights:

Non-major labels are firmly streaming-first, with it accounting for the majority of their income and Spotify being more than half of it. However, they also feel streaming has its challenges – 87% of non-major labels feel it is becoming more difficult to get artists to cut through and 78% find it difficult to retain fan interest. Little wonder then that non-major labels spent $1.5 billion on marketing in 2023, with smaller labels (

How To Promote Music Internationally Free: 7 TipsHere are some proven strategies to promote music internationally without spending a dime. From online platforms to social media tips, learn how to connect with global audiences and grow your. Continue reading
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Native Instruments’ Traktor mixer gets a glow up for its next-gen Z1 MK2 modelNative Instruments has launched the Traktor Z1 MK2 – the next generation of its popular DJ mixer controller and soundcard – with improved features for a sleeker performance, plus enhanced audio capabilities, and OLED displays.
NI says the new Traktor builds on its predecessor, and is the ideal for both new and established DJs who need “high-quality, tactile control” without a bulky unit. It’s suitable for home mixing, casual events, and more advanced modular setups.
READ MORE: AlphaTheta’s new DDJ-FLX2 DJ controller is aimed squarely at beginners
Included with this new gen model is its Traktor Pro 4 software. The latest version of this now includes stem separation and mastering tech from iZotope, plus a built-in drum machine and flexible beatgrids for changing tempos and genres. You can also control up to four decks within the software, for improved flexibility.

Credit: Native Instruments

There are three high-resolution OLED displays in total to show essential mixing information, with the aim of reducing the need to constantly check your laptop. A new dedicated stem control section also offers “precise” volume control over individual stems so you can create more dynamic and creative mixes.
Its Mixer FX Section delivers one-knob control over a selection of nine effects including filter, reverb, delay, and a gater, so you can add effects to tracks in real-time. The Z1 MK2 also features a new transparent undershell with functional lighting, allowing you to customise its LED colours. If desired, you can pair it up with other Traktor gear too.
Take a closer look in the video below:

Last month, Native Instruments announced the launch of Komplete 15 – the latest edition of its flagship production suite, which offers a range of software instruments, effects, and expansions from its family of brands. For this new rendition, it offers Kontakt 8, iZotope Ozone 11 Standard, Kithara, and more.
The Traktor Z1 MK2 is available now for £214, and offers a simple plug and play set up. Find out more over at Native Instruments. 
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Rhodes & Cherry Audio launch Rhodes Chroma Rhodes Chroma by Cherry Audio is said to faithfully recreate Rhodes' classic instrument and bring its distinctive sound to a new generation of musicians and producers. 

Join Bandcamp alternative Subvert: Cooperatively Owned and OperatedBandcamp alternative Subvert has signed up 950 artists, 166 labels, and 230 supporters as founding members and is looking for more.
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